Core Statement & Practice
The paintings are conceived as spaces to remain with rather than images to interpret. Through layered material, vertical structure and repetition-with-difference, perception stabilizes and the viewer inhabits the surface instead of reading it. They do not describe or represent. They create a condition of attention that unfolds over time. The image ends. The gaze inhabits. Each work is built to live with — altering the surrounding environment through presence, duration and quiet intensity rather than visual statement.
Materially dense abstract paintings built to last—visually, physically, and conceptually. They don’t rely on an exhibition text, a trend cycle, or a specific room to “work.” They hold their own: in a collector’s home, a hotel, a corporate space, or an institutional program.
Most contemporary art is still presented in short, event-driven bursts. That system creates visibility, but it often rewards novelty over longevity. My practice is the opposite: it’s constructed for duration. Each painting returns to a stable language—layer by layer—so the work can evolve through variation, not reinvention. Repetition is not duplication here; it’s how difference becomes visible over time.
These paintings regulate attention rather than demand it. They don’t shout. They concentrate. The surface carries density, restraint, and a controlled pace that rewards sustained looking. In a series, that means the work keeps revealing itself—across seasons, light changes, and years—without losing clarity or becoming “background.” In architectural settings, it shapes rhythm and perception without turning into décor.
My process privileges accumulation over spectacle. I build structure through layered decisions: balance, tension, pressure, and release. I work with restraint as a discipline—so the painting stays coherent as scale expands. What matters is consistency: a recognizable visual intelligence, executed with control, that holds value across contexts. Continuity is part of the work’s infrastructure. Each piece is documented with stable titles, dates, dimensions, materials, and installation views. This supports collector confidence, curatorial readability, and long-term stewardship. The aim is simple: paintings that remain legible, strong, and alive—no matter where they live, and no matter when they’re viewed.
Beyond the white cube
Beyond the white cube, for me, means the work operates in time, not only in the first look. It operates in bodily presence—in the distance you take, the approach you risk, the pauses you don’t plan. It operates in sensory experience. And it operates through a continuous relationship, not through a single punctual event, opening, or text. They don’t present themselves as a stable object with an immediate “read.” They don’t close into one identity, one message, one interpretation. They hold. Each piece is built as an encounter—something that insists on your sensibility instead of flattering it. The work doesn’t exhaust itself in contemplation. I What changes is not only the painting, but the viewer’s capacity to perceive it. The painting is not a finished answer. It is a sustained presence—one that asks for time, and gives back depth.
Credits: Sonia J. & Roberto Litta ( Pitturiamo)